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From freak-out to chill-out, Montreal's favourite rave band joins NAFF with a debut double LP.

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the first of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the second of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the third part of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the forth part of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the fifth and final part of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

Athens, Greece resident and Vanila records owner ANFS lands on Horo for an EP of jagged, industrial tinged Techno. Breakbeats are hacked and repurposed into brutal shards, with 'Kounoupi's amen march adding a slowed down, vicious take on the infamous roll. 'Salepsa' is a propulsive call to the floor, robust and emphatic, with 'Dervisis' and 'Komena' bookending the EP with rattling menace.

LIMITED EDITION RUN OF 200

A gem of an EP, the "Untitled" track could easily have been mistaken for a Warp Records release or AFX. Techno to drive you nuts.
Written by my Sound Designer friend, Michael Bolton, at University in 1998.

The Driving Me Nuts track is a sample of our tutors reaction to a track I made she hated.

Voodoo Dance Malarky's intro would be worthy of a Chemical Bros track, full of little surprises and an evil break at the end.

Originally recorded to tape. Cleaned up by me years later, remastered by Subvert Central Mastering and cut at Curve Pusher. Pressing by Vinyl Presents on clear Vinyl.

Originally released on Rabbit City Records as a CD collection taken from the first batch of EP's on Rabbit City. Remastered and offered by Mike Wells on his own FMM imprint. Definitely one of my all time favourites from 1992, Force Mass Motions early work was very distinctive. A sound that owed a lot to how Mike Wells sourced a lot of his sounds. Listening to and taping Kiss FM and sampling it. With a home built sound card his brother made an Amiga was the centre of the studio. All the music was mixed down through an old Broadcast desk using a few clever delay line tricks that give the music a lot of depth. Very distinctive, totally original the music was caned by all the DJ's.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

An all-time rave classic gets the Gerd Janson re-loving as he works his magic on the 1992 anthem 'Don't Go'.
26 years on from it's first release, Gerd takes the tempo down a notch laying out that all too familiar drum break, instantly recognisable piano line and Julie McDermott's timeless vocals. His subtle touches and added weight, behind a pounding kick, are sure to set any dancefloor alight. About as euphoric as they get - if this doesn't do the business then god help us all.
On the B side, Belfast's Ejeca flips 'Don't Go' into a heavy-hitting, rave tinged, techno bomb. His inventive sampling turns the synth stabs and vocals on their heads, making them almost indistinguishable, but no less impactful, from the original. It's over four and a half minutes till the iconic chord progression is heard in it's initial form, before Ejeca throws it back into a rapid fire, industrial thumper.Lastly, Gerd serves up a VIP Dub mix echoing claps and synth lines into the stratosphere whilst leaving the vocals at bay, save a short cry of 'Don't Go' from Julie towards the end of the track, allowing those anthemic elements to do the talking. A modern touch on an all-time classic from Gerd with a complete reinterpretation from Ejeca, this is a heavyweight release and one that's already being played by the biggest and the best out there.

300 COPIES BLACK VINYL REPRESS

Remastered from Digital Masters

Originally released in 1990 on hardcore imprint Brainiak - written and produced by Dave Campbell.

The Belgian party organisation and record label De:tuned mark their 10th anniversary with the first outing of their 10 x 12'' series. 'DE:10.01' kicks off with a special treat from the 90s golden era: on offer a welcome combination of previously unreleased DAT material by Kirk Degiorgio and expertly affectionate As One remix treatments of both original Sensurreal and Jedi Knights (Mark Pritchard and Tom Middleton) work, pure bliss.
The artwork of the first 9 collectable releases of the series forms a 3 x 3 poster display. De:tuned have called on designer Kevin Foakes (Openmind, DJ Food, Ninja Tune) to create all graphic work.
This kickstarter for the series is mastered by Matt Colton (Alchemy Mastering) and pressed on 180 gr vinyl. A separate digital version of every release will be available from the usual digital shops. Stay tuned!

INCLUDES REMIXES BY PESHAY & STU M
Limited Edition 12" Vinyl

Remastered and recut by MUSIC PRESERVATION SOCIETY

Heavy, Effective 1990s Uk Hardcore/ Ukg Revival Cuts From Soundbwoy Killah On His Debut Sneaker Social Club 12"

This might be the most old skool of old skool releases possible. The legendary Sublove, creator of some of the finest old skool hardcore in history, appears here on this luxurious double pack with four represses, one unreleased track and three epic remixes of his classics. The four represses are all distinctly Sublove in style, technical but heavy, and all have been lovingly remastered: Maniac Music, Drum And Bass Programme, She Moves and One By One make up the remastered represses, and a never before released version of One By One is a treasure form the archives.
Meanwhile, the remixers featured include two heavyweight hardcore artists, Liquid and Hyper On Experience, both of whom bring their customary and unique styles to the proceedings. And rounding off the EP is new artist Mannik on the remix of Drum And Bass Programme, giving it a darker, harder twist but keeping the original flavor. Simply put, this is one of the best 'new' old skool releases ever.

DJs Doc Scott, Muffler, Monita,
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Having rounded off 2018 in style with his debut EP for the mighty METALHEADZ, FANU the beat manipulator opens 2019 with a bang. Marking the return of STRAIGHT UP BREAKBEAT - the 1st jungle / drum'n'bass label out of Finland established 1996 - FANU delivers two majestic pieces of music.

12-bit sits nicely at 155 BPM mark, sounding fresh and vintage at the same time. Smooth pads coupled with drum patterns only a select few can construct.
The double A-side steps into jazzier mode but makes sure not to fake the funk. Tight beats and a halftempo surprise at the end.

Serving up another fierce 4-track EP, Inner Sunset Recording's Low Top (Homero G.) is back at full force as The Honorable Mr. Top. This 12 doesn't waver one bit from the classic dance vibes that Inner Sunset Recordings is hailed for, nor does it fail to deliver the same excellent variety and quality that can be found throughout the label's highly sought-after catalog. Side A's two mixes of To Fantasize offer up a superbly crafted nod to classic US/UK garage and house sensibilities. Side B's That Happy Day is a brilliant and flashy hybrid of deep house and breaks-driven grooves, while Lunar Launch Candidate dares to defy genre classification, taking the dance floor on a wild and pumping ride through atmospheric pads, deep organs, rave stabs and rolling breakbeats. This EP is sure to go down as one of the label's seminal releases, so grab your copy now before it disappears!

Of all of the personalities to emerge from the Mutek affiliated Montreal electronic music scene which exploded onto the global stage at the turn of the millennium Scott Monteith, better known to audiences worldwide as Deadbeat, has unquestionably shown himself to be its most prolific and restless spirit. Through a steady stream of critically acclaimed singles and 7 studio albums for labels such as ~Scape, Echocord, Wagon Repair and most recently his own BLKRTZ imprint, and his genre defining Radio Rothko mix, which drew comparisons to some of the greatest mix CDs of all time (Richie Hawtin's Decks, EFX & 909 : Jeff Mills's Live at the Liquid Room), Monteith has established himself as perhaps Dub Techno's greatest champion. Yet anyone intimately familiar with said catalog could rightly accuse even that lofty title of being an over simplification. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz Von Oswald's Basic Channel and related projects of the mid 90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with last year's hypnotic Drawn and Quartered album, Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight.

Innercore return, this time with four killer old school back to '92 Piano Hardcore tracks. No cheese, just Dance floor vibes.Matt 'Teksteppa' Wilkins introduces to you the InnerCore Project Volume 2, This time the aim was to capture the '92 Piano rave feel, and there is also a Jungle Techno style track on the EP for good measure! Since releasing Volume 1, InnerCore have had releases with other label such as Peace On Wax Records, Kniteforce Records, And other signings are in the works! You can also catch InnerCore DJing up and down the UK at various events
including 'Calling The Hardcore'. InnerCore's music is also being supported by some major key players in the old skool hardcore scene, such as Billy 'Daniel' Bunter and DJ Shock C (Eclipse/Amneisa House).

Remastered and recut by MUSIC PRESERVATION SOCIETY

It's a new year and what better way to celebrate it than with a new release and a new artist. As Liluzu, Lachlan McGeehan debuts on Kalahari Oyster Cult with What's Your Star Sign. Part of Australia's growing pool of musical talent, McGeehan combines a wide spread of influences and styles to arrive at his own unique sonic personality.

'I Think That...' opens the 12'. Classic breakbeat percussion is countered by chanting samples and silken chords as western grooves collide with the exoticism of the east. Tribal toms are cut by a rasping drum for the Bubble Mix of 'Arreca.' Delicate notes flutter next to squelchy basslines and aquatic flows in this dreamy and imaginative work. BPMs rise as 'Scale Libra' makes itself known on the flip. Shapeshifting melodies glow from the outset, bright notes dawn and shine in this track of new age optimism and old-school class. The I Love You Mix of 'Scale Libra' muscles up rhythm patterns, sourcing extra pound through thick kicks while adding height to the ascending lines of the Liluzu's version. A provocative dust-mask remake by Sentiments that captures all the enthusiasm and grace of the original as it nods to the verve of the 1990s dance scene.

As a first listen it was 2 am, 46° in a village Portugal, in a Convent, after a good night out. That moment stroke me from being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning A simple rhythm Soft realms Noisy Round sounds Type machine sounds, of a sampled hi hat that never reveals, cut cut cut cut. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (=to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. 'Crocodile' is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track 'Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomised, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging ones ears, and putting it all together in this piece.

After the acclaimed double album on Organic Analogue, Aleks is back again with a Sci-Fi banger called 'ground control' on a very limited Deeptrax pressing. Heavenly septic breaks over big analogue rhythms, starting with the trippy rave vocals over massive beats, 'NYM' is delivering for the packed floors. One that should always stay in your bag!

DPTX 014 is limited to 300 copies all uniquely colored with a black label and black sleeves. Pressed at their own pressing plant Deepgrooves on 180gr vinyl!

In the wake of a spread of releases Urulu arrives, the latest convert to the Kalahari Oyster Cult. 'Transworld' is the American artist's first gift to the diety. The track physically jitters into life as broken beats and classic samples give rise to an elusive melody of spaced out synthlines and expansive arcs. Shapes are a central theme of the EP, like the exotic curves, playful percussion and full bodied bass of 'Precinct 9.' Urulu toys with assumed structures, nowhere is this more evident than in the bizarre and brilliant medley of bleeps, honks, squeaks and bold beats that make up 'Groove Therapy.' Trippy samples introduce 'Precinct 9 (Extremix),' a final psychedelic trip of Technicolor trance to bring the listener back from a journey known as Ex-Terrestrial.

For that new split EP, we welcome two producers who like to surpass the usual frames of electronic music's styles. Melancholic jungle, gloomy electro, slo-mo hardcore, revolutionary trance, emphatic breakbeat... AAAA and Soul Edifice invite you to a direct trip from Mexico to Paris - welcome on board !

Seb Zito is one of the essential pillars of the FUSE London crew and his productions always pack plenty of attitude. Drawing inspiration from rave records of the 90s, he returns to the label with The Source EP, a no nonsense two tracker.

The title track is razor sharp starting with a solid kick and a skippy pads before meandering through breakbeat at halftime. The One heads down a deeper road, but still pays homage to classic rave with a propulsive, low-slung bassline and soaring, dizzying pads remerging post-breakdown with a series of breakneck claps. Another great release from this great talent!

The second release on AF Trax, again with all profits being donated to Hope Not Hate, is the debut from Al Jerry who has the following to say -

I was initially picturing Al as an ambivalent character trying to evoke in his music deep issues and emotions related to Middle Eastern cultures, but not without a certain self-depreciating sense of humour and a questionable taste for stereotypical arabesque harmonies.

On a personal level, I'm from a family who is half-French, half-Armenian (from Turkey). I grew up with this sort of historical ambivalence in mind, born and bred in the relatively untroubled French culture but not completely oblivious (how could I) of the troubled past of my modern Armenian ancestry who had experienced the first genocide of the 20th century - which as you may know some people and countries still deny its very existence as we speak now in 2018. So, instead of doing something purely on my personal history and origins, I just wanted to celebrate/acknowledge the modern history of the both fascinating and chaotic Middle Eastern cultures.

When I introduced that vague idea of a project/alias to B with an early version of Sana'a Riots, he got instantly into it. The hybrid feel of the project really allowed us to experiment and mess around with odd tonalities and enthused solos. It was the first time for both of us that we manage to collaborate on an EP with someone else. We had never tried something together before and it actually turned out to be a lot of fun. More to come from Al then :)

AF Trax = Against Fascism Trax and is a new label project instituted by JD Twitch/Optimo Music. Its aim is to make a musical and cultural protest in opposition of rising far right politics and ideology in the world. Encouraging artists to make music intended to interrogate these toxic ideas, and with all label profits donated to Hope Not which campaigns to counter racism and fascism. Against Fascism Trax's intent is to provoke conversation, inform and financially support the opposition to fascist thinking. Its simple idea is that we must do something more than just talking. The moral thing to do is to act

Volume #1 of this classic series repressed
Remastered from original Digital Masters

Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

- Originally released in 1974 on BRC Records (Brunswick
Records Corporation)
- This is rare and in demand LP proudly reissued by
Demon Records on 180g Heavyweight LP with original
artwork and printed inner sleeve
- Key tracks include; 'Loose Hips', 'Get Satisfied', 'Blood
Donors Needed (Give All You Can)' and 'Give It Up'

* 180g Vinyl cut at D&M including CD and DOWNLOAD CODE! *

** played by Steve Barker, BBC Radio Lancashire, ON THE WIRE, 1.12.2018 **

*** interview and exclusive mix etc radio, WNUR FM, Chicago, 4.1.2019 ***

** interview & airplay of the whole album @ OE1, ORF - Zeitton Extended 3rd of february 2019 **

In his latest composition, DOLOMITE DUB, the Vienna-based South Tyrolean sound artist Ulrich Troyer presents his perceptions of a several-day high alpine hike across the Dolomites transformed into a soundscape.

The more than 40 minute track DOLOMITE DUB leads the listeners through this landscape of heights transgressing different moods - in which autobiographical memories flash up as well.

Subsequently to the experimental dub trilogySongs for Williamand the EPDeadlock Versions, a cooperation with Vin Gordon and Didi Kern, DOLOMITE DUB features besides Didi Kern on drums & percussion, Susanna Gartmayer on contra-alto clarinet and Juergen Berlakovich on bass, both long-time ensemble members of the joint project "The Vegetable Orchestra".

Vaal announces the release of debut album 'Nosferatu' via new label Pale Blue Dot.

A dark, cinematic triumph, title track 'Nosferatu' was the first song to be released from the record, following a huge few years of touring and underground releases, including one of 2016's most ubiquitous tracks 'Wander To Hell' and 'Monument' on Afterlife.

Vaal has established a sterling reputation as one of the key members of the Afterlife family. Steadily cultivating a strong identity and sound, merging a crossover of techno and breaks, traces of 'Bachian' melodies and UK rave culture.

British producer Ross From Friends aka Felix Clary Weatherall is the newest signing to Flying Lotus's Brainfeeder family. The 24 year old has a fistful of releases under his belt, the distillation of myriad influences from hip-hop cut 'n' paste culture, 80s Eurobeat, Hi-NRG and Italo into lithe, irresistible, raw dancefloor trax. He made his debut on Breaker Breaker in 2015, followed by outings on Lobster Theremin and sister imprint Distant Hawaii, Lone's Magicwire and recently: Molten Jets.

'It's honestly an absolute rush to sign to Brainfeeder,' he explains. 'It has always been pushing such a forward thinking sound, one that constantly grabs my attention with every release. I put these 4 tracks together with Brainfeeder in mind, I wanted to explore the music that I've been developing over the past 7 years as Ross From Friends whilst trying to explore the explosive sound that the label is best known for.'

Up first, 'John Cage' encapsulates both his desire to experiment but also maintain a sense of fun. 'It originally began life as a tune for this goofy hip-hop project that me and my pal Guy from back home always do when he's in London,' explains Felix. 'I'd be making the beat and he raps. It's always a refreshing approach making tracks in that atmosphere because we're both always on such a spontaneous tip. When I'm making music alone, I'm obsessive and everything takes hours, whereas with Guy, we'd try and get as many tracks finished as possible in like a few hours. That's him freestyling a relaxation tape in the intro.'

Limited edition black vinyl 12' housed in an uncoated white board sleeve with product sticker.

If All The People Took Acid, we wouldnt get much done. FaltyDLs second release on his own imprint Blueberry Records. And it sees him going back to basics.
Dance floor bubbling lead track If All The People Took Acid jacks you directly into an updated ACID soundscape. The tune also gets remix treatment from the inimitable Octo Octa, taking the acid squelching to an even higher level. Both sample someone
explaining their experience with acid from a 1960s documentary on Acid and its effects on the brain.
Flesh Of Acid & Scream Acid are both designed to catch you off guard on the dance floor, perhaps even terrify you. Its an energy thing, we believe clubs should be both safe and electrifying at the same time. That feeling of entering a club and not knowing
what the night will hold its the same feeling you got as a kid when you climbed a tree to high and thought, shit I might not make it down. But you always did, you always did.
EP comes housed in a beautiful sleeve designed by longtime FaltyDL collaborator, Tom Simon.

The raw jacking sexiness of Ghetto House has always played a big role in the Killekill universe. So it's high time to put out our first release which goes that direction. Italian Andrew Soul is an artist we have been watching for a while already. When he sent the demo with the extremely raw and dirty tunes that you find on the A-side of this 12, the decision was easy: Killer stuff which makes you bounce immediately - We want to put this out!
The B-side comes from Dirtbox, who is also one half of Snuff Crew and therefore has been part of the Killekill family for a while already. Actually almost from the start. Being the musical wizard he is, he can not only make house and acid music and anything else you could think of, but also class A Ghetto House. Maybe even more classic than Andrew Soul's side but ranging from the percussive style of SMMFD and Work That to the raw energy of Fukk it is definitely in no way less original.
Shake dat ass!

This Is The Second Release On Young Imprint Turnland. Dusa - Open Road Ep Is Picturing The Ups And Downs Of A Fictional Road Trip Through Wanderlust, Anxiety And Nostalgia In Five Snapshots.